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40 years ago, we got John Carpenter’s 1978 classic “Halloween,” a truly scary low-budget thriller about a killer that continued to lurk in the dark and stalk (and kill) unsuspecting teenagers. It was scary because it represented the looming presence of fate and death and ended on a chillingly ambiguous note: that evil is still out there and while we can evade it for some time, it can still come for you at any time…

Since then, there have been countless sequels (including one that tried a different story—“Halloween III”), neither of which I can recommend. (It was also remade in 2007 by Rob Zombie; I can’t recommend that one either.) And now, in 2018, we get a sequel that pretends all of the other sequels don’t exist. It’s a “Halloween” sequel, directed by talented filmmaker David Gordon Green, that’s directly following the original film 40 years later.

Already, we’re off to a good start…though simply giving it the same title as the original is confusing. (I get that they can’t call it “Halloween II,” because there were already two movies by that name…but now, there are three movies titled “Halloween”!)

The killer, Michael Myers, is no longer the brother of survivor Laurie Strode (Jamie Lee Curtis). He’s simply Michael Myers, an enigmatic figure that stalks and kills—the “boogeyman,” if you will. Four decades after killing a few people in Haddonfield, Illinois (actually, he’s killed more people if you include “Halloween II”…but they’re not including it, so I won’t either), Michael Myers has been institutionalized and studied long since then. Meanwhile, survivor Laurie has led a life of ruin and misery since then—she’s a nutty survivalist, living in a fortress-like secluded house, carrying a ton of armory hidden underneath, and obsessing over the possibility that Myers will escape and come for her and finish what he started.

That’s a very slim possibility, especially after 40 years of Myers being locked up and Laurie continuing to wait for him. But if he didn’t somehow escape, we wouldn’t have a movie, would we? Anyway, he escapes a bus filled with other mentally ill prisoners and makes his way back “home”…

And of course this happens on the night before Halloween, so that Myers can come to Haddonfield and stalk new victims on Halloween night!

In the process of Myers’ lurking and killing, we get some neatly executed horror moments, such as how he retrieves his infamous mask and when he walks through a suburban neighborhood filled with trick-or-treaters. And we also get some nice, funny moments too, such as when one of Myers’ potential victims reassures the boy she’s babysitting that everything’s fine when the kid knows better. (That kid, played by Jibrail Nantambu, is an absolute riot—I wish he had more screen time!) But we also get a lot of uninteresting moments too, particularly with Laurie’s teenage granddaughter Allyson (Andi Matichak) and her friends (Virginia Gardner, Dylan Arnold, Miles Robbins, and Drew Scheid) who we all know are generic teens lined up to be stalked, killed, or both.

Oh, and there’s also the creepy Dr. Sartain (Haluk Bilginer), the psychiatrist who looked after Myers long after Dr. Loomis (the doctor from the original, played by the late Donald Pleasance). Where he falls into this story is as uninteresting as it is blatantly odd (and random).

However, as we learn, the film isn’t really about them. It’s about Laurie’s chance at closure, getting a chance to fight back at the one that’s the cause of her turmoil and misery for four decades. (Though, I think she got off easy, as her friends were murdered forty years ago, while she survived—but I think you could call that “survivor’s guilt.”) We saw something like this in “Halloween H20,” in which Laurie fought Michael 20 years after the original incident, but it was merely a glimpse. This “Halloween” sequel delves deeper into the concept of “victim empowerment,” and it leads to a neatly executed final act in which Laurie has to protect her granddaughter, as well as her daughter (well-played by Judy Greer), and ultimately face her foe as an avenging angel. The roles are reversed this time—originally, Myers was the hunter, but now, Laurie is. What results is a climactic final act that is both fun and suspenseful.

For all the moments in “Halloween (2018)” that don’t work, there are still plenty of other moments that really do. Credit for that goes to director David Gordon Green and his collaborators, one of whom was John Carpenter himself—they know how to shoot the horrific moments and keep the tension flowing, and I appreciate the new direction they were willing to take this story, while paying callbacks to the original that don’t feel forced. (One callback in particular made me smile—it involved one character looking down below at another in a similar way at the end of the original. That’s all I’ll say about it.) Jamie Lee Curtis plays the most interesting character, which makes almost everyone else hardly relevant outside of playing “dead meat,” but it just makes every moment she appears on-screen more special because it’s building up to something big with her. And I like that producer Jason Blum (of Blumhouse Productions, which mostly specializes in horror films) was able to add a modern spin on the popular Halloween franchise, so that modern terrors and old-school suspense combine for an effective horror film. “Halloween (2018)” is the “Halloween” sequel I was waiting for. Do I wish there was a little less predictability with many of the side characters? Yes. But considering all the other “Halloween” sequels that this particular one ignores, I’ll take what I can get.